John Wayne’s Greatest Contribution To Westerns, According To Himself

It is difficult to think of a cinematographer to do more to dictate the animation path in the United States during the twentieth century of John Wayne. Iowa, the state of Iowa, who owes his career in the representation of John Ford and Tom Pix, is carrying out the legendary football coach at the University of Southern California, Howard Jones, to nullify it as a player for a contract throughout the thirties of the last century, even at the end of the decade, he was getting an Winschest rifle as a Ringo child in “Stadecoach”. That moment, this film, changed Western forever. Before Ford’s masterpiece, this type was basically the cinematic cinema. After it became an enormous blow, the Westerners gained the strength of the legend.

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Wayne believed firmly that Westerners are present to tell stories about the pursuit of the clear fate of America. Wayne was so serious about this, to the extent that, late in his career, when Clint Eastwood approached him about participating in a Western championship together, he wrote a speech that raises his heir, which was clear to receive the purity of this type with dark and violent “Drifter High Plains”. As far as the Duke was worried, it was not just a Western star. he He was Western.

This led to a great deal of humor, and sometimes, exaggerating its pioneering achievements within this type. Just a lie that would question the importance of Wayne as a Western star, but the other actors – most notably Gary Cooper, Henry Fonda and James Stewart – was an integral part of his development during the 1940s and 1950s. So when the Duke claimed, for example, that he revolutionized the way the hero is fighting in a western, many salt granules should be taken.

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Wayne was a strong protection of his image. Although he allowed the managers who trusted him (i.e. John Ford and Heard Hawks) to throw him as heroes that were not fully sympathetic, there were things he simply did. When the text of the last Wayne movie, “The Shootist”, called for a shooting on the back of the climate weapon, the star put his foot down. Although the armed personality was miraculously survived to see aging despite the killing of dozens of men (which is likely to ask him to commit a few delightful procedures), the large screen icon refused to shoot a man who could not see the bullet to come.

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It is strange that this respectable mentality did not apply to the degrees that appear on the screen. When it comes to throwing a bad man (or, in the case of “Red River”, his adopted son), Wayne explained that his characters will do anything to go out over the scrap. In fact, according to Duke, his philosophy, which is not celebrating in the manual fighting, was a change in the game. According to an excerpt interview in a literary axis, written by Tyler Malon:

“Before I wandered, the usual practice was that the hero should always fight clean. The hero was allowed in the head by chair or throwing the kerosene lamp on him or kicking him in the stomach, but the hero could not only knock on the villain politely and then waited until it rose. I changed all of this.

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When it comes to fighting, Wayne was a lot of words. He threatened to settle Robert Duffal on the “real gravel” group, and it was clear that he was not shy of using his large size (stood 6’4 “and weighed in a neighborhood of 220 pounds when health) to intimidate anyone who challenged him. He was the greatest contribution of Wayne to fighting on the screen was the study of the Pujelians such as Jacques Dempsey, and learned how to appear Wayne.